By Katherine O'Brien O'Keeffe
This quantity offers a semi-diplomatic version of the textual content of MS C (London, British Library Cotton, Tiberius B.i). frequently known as `the Abingdon Chronicle', it used to be considerably copied within the mid-eleventh century and persevered to be so sporadically thereafter; the complement to its abrupt finishing via a twelfth-century reader means that it was once nonetheless of curiosity within the interval after the Conquest. The C-text is a vital resource of data for the reign of Edward the Confessor, and it brings a different political point of view to the ascendency of Godwine and his sons.The conventional organization of the textual content, manuscript or either with the reformed monastery of Abingdon has been a big function of the present figuring out of the interrelationships one of the numerous texts of the Anglo-Saxon Chronicle. the current version examines many of the arguments for associating the C-text with Abingdon and the problems inherent in those arguments. It brings to endure proof from the palaeography and codicology of the manuscript in addition to textual content ancient and linguistic proof. The advent to the textual content considers the various strands composing the C-text, and the shut relationships of this article to MSS B, D, and E, and the quantity is finished with indices of people, peoples and areas.
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Extra info for Anglo-Saxon Chronicle 5: MS C
Will you not take reuenge? Ile call them on. All that loue me depart: I thanke you, and will serue you for your loues: But I will thanke you more to suffer me To gouerne em[:] once more, I doe beg yee, For my sake to your houses. all within. Gods preserue you. (Q1, I4v) leu. isme. leuc. Visibility 35 The people would come to a halt immediately behind the doorway by which Leucippus and Ismenus have entered the stage. Leucippus asks them repeatedly to depart and go home. Since it is unlikely that either he or Ismenus would shut the door behind them, the people would remain at least partially visible, standing behind the doorway, until they leave after making their farewells to Leucippus from within.
The use of ‘within’ is sometimes linked to a character’s arrival or departure through the central opening covered by hangings. Fletcher’s Women Pleased, acted by the King’s Men, provides one such example. In Act 4, scene 3, a chimney-sweeping boy creeps into the chimney and then calls out from there. The stage directions for these actions read: ‘Boy goes in behinde the Arras’ (F1, 6F1r); ‘Boy within, Madam here be de Rat, de Rat Madam’ (6F1r). Here ‘within’ clearly refers to the discovery area ‘behind the Arras’.
The exit and re-entrance of Warwick and others suggest two possibilities. It is certainly possible that ‘the Kings Tent’ was supposed to be offstage, accessible only from the door by which they exit, running after the King’s guard. If, however, the King was brought on through the central opening, the discovery space itself might have represented ‘the Kings Tent’. Either way, it seems that the phrase ‘the Kings Tent’ must be understood ﬁctionally rather than theatrically. Even if a particular term occurs in a fair number of stage directions, its usage may not always be the same.